Born 1956 in Folkestone, United Kingdom.
Lives and works in Brussels.
Education |
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| École de la Cambre, Brussels | |
Solo Exhibitions (selection) |
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| 2020 | HOT PINK TURQUOISE, Louisiana Museum of Modern Art, Humlebæk |
| Green, Yellow and Pink, DDP, Seoul | |
| 2019 | Contrepoint 2, Musée de l'Orangerie, Paris |
| 2018 | Ann Veronica Janssens, De Pont Museum, Tilburg |
| Ann Veronica Janssens, Museum of Contemporary Art Kiasma, Helsinki | |
| Fog Star, Baltimore Museum of Art, Baltimore | |
| Albedo, MAC's, Grand Hornu, Boussu | |
| 2017 | Naissances latentes, SHED, Notre-Dame-de-Bonnevilles / L'Aitre Saint-Maclou, Rouen / Musée des Beaux-Arts, Rouen |
| mars, Institut d’Art Contemporain, Villeurbanne | |
| HD400, Korenmarkt, Ghent | |
| 2016 | Ann Veronica Janssens, Nasher Sculpture Center, Dallas |
| Ann Veronica Janssens, Musée-Atelier Départemental du Verre, Sars-Poteries | |
| 2015 | Ann Veronica Janssens: yellowbluepink, Wellcome Collection, London |
| Philaetchouri (in collaboration with Michel François), La Verrière, Fondation d’entreprise Hermès, Brussels | |
| 2014 | Sansevero di Ann Veronica Janssens, Museo Capella San Severo, Naples |
| 2013 | Ann Veronica Janssens: Septembre, FRAC Corse, Corte |
| Ulysses – Ellipse, Eglise Sainte-Honorat des Alyscamps, Arles | |
| Ann Veronica Janssens, Chapelle St Vincent de Grignan, Grignan | |
| 2011 | Dans la poussière du soleil, Château des Adhémar, Montélimar |
| Lichtwerke im Schatten der Ortlosigkeit, Kunsthalle Münster, Munich | |
| 2 éclats blancs toutes les 10 secondes, with Aurélie Godard, CRAC Alsace, Altkirch | |
| 2010 | Ann Veronica Janssens, Ausstellungshalle Zeitgenössische Kunst, Münster |
| 2009 | Serendipity, WIELS, Brussels |
| Are You Experienced?, Espai d'Art Contemporani de Castelló, Castelló | |
| Laboratoire Espace Cerveau, IAC Institut d'art contemporain, Villeurbanne | |
| 2007 | An den Frühling, Museum Schloss Morsbroich, Leverkusen |
| The Experience of Color: Ann Veronica Janssens & Diana Thater, The Fine Arts Center at the University of Massachusetts, Amherst | |
| 2003 | Aux origines de l’Abstraction (1800-1914), Musée d’Orsay, Paris |
| Ann Veronica Janssens, CCA Wattis Institute for Contemporary Arts, San Francisco, CA | |
| Licht und Farben, Kunsthalle Bern, Bern | |
| 2002 | Ikon Gallery, Birmingham |
| Red, Blue & Yellow, CIVA, Fondation pour l'Architecture, Brussels | |
| 2001 | Light Games, Neue Nationalgalerie, Berlin |
| Works for Spaces, Kunstverein München, Munich | |
Group Exhibitions (selection) |
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| 2019 | La Lune. Du voyage réel aux voyages imaginaires, Galeries nationales du Grand Palais, Paris |
| Survivre ne suffit pas, FRAC Franche-Comté, Besançon | |
| 2018 | Space Shifters, Hayward Gallery, London |
| Action < > Reaction / Actie < > Reactie, Kunsthal Rotterdam, Rotterdam | |
| Unexchangeable, WIELS, Brussels | |
| 2017 | Intuition, Palazzo Fortuny, Venice |
| What is visible is not invisible, Song Eun Art Space, Seoul | |
| Dizziness. Navigating the Unknown, Kunsthaus Graz, Graz | |
| Le musée absent, WIELS, Brussels | |
| Poïpoï, une Collection Privée à Monaco, Nouveau Musée National de Monaco, Monaco | |
| 2016 | Daniel Buren—A fresco, BOZAR Centre for Fine Arts, Brussels |
| Illumination, Louisiana Museum of Modern Art, Humlebæk | |
| 2015 | Zehn Räume, drei Loggien und ein Saal, Sprengel Museum, Hannover |
| Light Show, Sharjah Art Foundation, Sharjah | |
| 2014 | Manifesta 10, State Hermitage Museum, St. Petersburg |
| Constellations, FRAC Nord-Pas de Calais, Dunkerque | |
| Des choses en moins, des choses en plus, Palais de Tokyo, Paris | |
| Museum to Scale 1/7, Baker Museum, Naples | |
| Museum to Scale 1/7, Kunsthalle Rotterdam, Rotterdam | |
| The Light Show, Auckland Art Gallery, Auckland | |
| 2013 | Before The Horizon, Fundació Juan Miró, Barcelona |
| Museum to Scale 1/7, Royal Museums of Fine Arts of Belgium, Brussels | |
| Lumineux! Dynamique! Espace et vision dans l’art de nos jours à 1913, Grand Palais, Paris | |
| 2012 | The Light Show, Hayward Gallery, London |
Ann Veronica Janssens’ work foregrounds the body’s perception of the world and itself in it. She often uses light, natural optical phenomena or glass as a medium. Beautifully made, her works exude the impression of great simplicity yet create vivid experiences of the act of seeing, evoking a heightened awareness of the changeability and fleetingness of the individual perception.
Her contribution to the 48th Venice Biennale (1999), where she represented Belgium with Michel François, for example, filled the space with thick mist that served to disorient the viewers. In 2013 she added colorful glass monoliths to the windows of the Chapelle de Grignan in Provence, transforming the interior space into a constantly changing color environment. The 2012 work L’ODRRE N’A PAS D’IPMROTNCAE, a neon installation on top of a building in the lakefront district in Plaine de Plainpalais in Geneva, altered a well-known slogan into an enigmatic light installation.
